Beneath the Gesture, Under Our Skin 

By Philip Szporer “La Chambre Blanche” O Vertigo

With the recreation of “La Chambre Blanche”, O Vertigo celebrates twenty-five years of making dance.  


Beyond One Man’s Story 

By Kaija Pepper “Cock-Pit” Wen Wei Dance

There’s a lot of biography behind Wen Wei Wang’s new seventy-minute work, “Cock-Pit”, but if you hadn’t been told, you wouldn’t know it.


Performing Masculinity 

By Samantha Mehra “(Re)tracing Fred” Darcey Callison, Da Collision

With every theoretical lens, something new is revealed about the implications of Fred Astaire’s performances.  


Once Upon an Ultra-Modern Time 

By Kaija Pepper “Relâche!” Turning Point Ensemble

“Relâche”, which means “Theatre Closed” or “No Performance”, is one of those avant-garde ballets posterity loves to remember.  


How long? 

By Michael Crabb “It’s About Time: 60 Dances in 60 Minutes” Dancemakers

In his latest work as Dancemakers’ artistic director, Michael Trent neatly avoids any accusation of redundancy by exploring the subject of time without resort to dance in the ordinary, everyday sense of the word – the sense understood by the thousands of people who escape everyday reality by watching beautiful bodies moving to music.


A Unique Whimsy 

By Philip Szporer “Ôs” Krea Movo, Lucie Carmen Grégoire

Lucie Carmen Grégoire is finding her voice. This fresh choreographer, who is establishing herself within the ranks of Montreal’s dance community, recently presented the local premiere of her latest work, “Ôs”.  


How do you critique a dying man’s art? 

By Philip Szporer “Over My Dead Body” Dave St-Pierre

Dave St-Pierre is dying. It’s not a secret. Over the last many years, he’s been up-front about it in interviews and on stage.


Character Study 

By Michael Crabb “The future memory heartbreak junction” Sasha Ivanochko, blackandblue dance projects

“She’s the Tart of Hearts, Lady of the Evening, Diva, Tough Cookie, Grand Mess, Plain Jane, Beauty and Beast.” That’s how Toronto-based Sasha Ivanochko describes the character revealed in “The future memory heartbreak junction”.

Responding to Risk: A Dialogue 

By Kaija Pepper, Mary Theresa Kelly “Risk” Amber Funk Barton, the response.

Kaija Pepper and Mary Theresa Kelly exchange views on Funk Barton’s latest work. 


Unresolved Encounters 

By Michael Crabb “Dis/(sol/ve)r” Toronto Dance Theatre

By any standard “Dis/(sol/ve)r”, Christopher House’s curiously titled new work for Toronto Dance Theatre, is extraordinary.  


Character, comedy, video, wigs … oh, and some dancing 

By Philip Szporer “Dulcinea’s Lament”, “Çaturn” Dulcinea Langfelder & Co., Naomi Stikeman

Dulcinea Langfelder loves to tell stories, and she loves to make people laugh. She does both in spades in her new fusion of theatre, movement, song and multimedia, “Dulcinea’s Lament”.


Asking the Why of “WhaT,?” 

By Kaija Pepper “WhaT,?” Jennifer Mascall, Ron Stewart

Just a few minutes in, I actually felt dizzy watching Ron Stewart in “WhaT,?”, a full-length solo in which he careens about the stage in an endless stream of giddiness choreographed by Jennifer Mascall, a Vancouver Body-Mind Centering practitioner who has been making dance since the seventies.


Resonant and Restless Voices 

By Holly Harris “Sauti” NAfro Dance Productions

Voice – the elusive quality that speaks volumes about subjective artistic experience – took centre stage at The Gas Station Theatre as NAfro Dance Productions opened its fusion-based, African contemporary dance season with “Sauti”. 


The Rite and Harmony of “White” 

By Penelope Ford “White” Xing Dance Theatre of Canada

The beauty of the technique of classical dance is born in the ritualistic process of endowing the body with dance, in the hope that it will enchant the soul.  

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